Mark Poprawski

The horizon is an infinite space, most perfectly described by the apparent meeting of sea and sky. It is the point at which our eye can rest, away from the more immediate conflict between the ordered land and chaotic sea. Often though, the horizon is indistinct or entirely lost. As our logical mind attempts to find it, our eye is drawn into and through the scene. The light which radiates from even the darkest skies, acts as an uplifting counterpoint for heavy, turbulent seas; while feelings of insignificance and isolation are instilled by the vast depth and scale of these elements.

The compositional components of light, water, land and sky lend themselves naturally to abstraction, which spontaneous and rapid marks help to capture; deciding which of these should remain is an integral and constant part of the process. Seascapes usually change quickly; shifting clouds cause differing reflections and refractions of light, immediately transforming the shades and colours of the sea. These changes induce a constantly evolving emotional response to the subject, allowing it to be explored again and again. The application and removal of many layers of paint aims to provide depth, until a balanced, coherent image emerges. Sketches and small colour studies made on location lead to larger studio based pieces, and working on board allows for an aggressive use of palette knife and oil paint.

Mark Poprawski

The horizon is an infinite space, most perfectly described by the apparent meeting of sea and sky. It is the point at which our eye can rest, away from the more immediate conflict between the ordered land and chaotic sea. Often though, the horizon is indistinct or entirely lost. As our logical mind attempts to find it, our eye is drawn into and through the scene. The light which radiates from even the darkest skies, acts as an uplifting counterpoint for heavy, turbulent seas; while feelings of insignificance and isolation are instilled by the vast depth and scale of these elements.

The compositional components of light, water, land and sky lend themselves naturally to abstraction, which spontaneous and rapid marks help to capture; deciding which of these should remain is an integral and constant part of the process. Seascapes usually change quickly; shifting clouds cause differing reflections and refractions of light, immediately transforming the shades and colours of the sea. These changes induce a constantly evolving emotional response to the subject, allowing it to be explored again and again. The application and removal of many layers of paint aims to provide depth, until a balanced, coherent image emerges. Sketches and small colour studies made on location lead to larger studio based pieces, and working on board allows for an aggressive use of palette knife and oil paint.